Lift High the Cross

with
[James Baden Powell]
CRUCIFER

I. Origins

The original hymn “Lift high the cross” was written by Anglican minister George W. Kitchin (1827–1912), who at the time was Dean of Winchester Cathedral. His text was published in an anthem with music by James Baden Powell (1842–1931), precentor of St. Paul’s, Knightsbridge, London. The header for the anthem refers to the music as the “same melodies as the ‘Hail, Festal Day’ for a Dedication Festival.” That is to say, Kitchin evidently wrote his words to fit Powell’s anthem “Salve! Festa Dies! Procession for Ascension Day translated from the Sarum Processionale,” which had been printed the year before (1885). The Kitchin-Powell anthem was not dated, but the British Library copy (Fig. 1) is stamped 8 November 1886, and the anthem had been advertised in the November 1886 issue of The Musical Times. Notice also the note at the bottom of the cover page, indicating “These words were originally written for a S.P.G. Festival held in Winchester Cathedral,” referring to the Society for the Propagation of the Gospel. Hymnal companions frequently cite this event as being June 15–16, 1887, but the context given on the printed score would suggest a date prior to November 1886.

Kitchin’s text includes twelve rhyming pairs of lines, including the lines intended as a chorus. Powell’s music includes a melody for the chorus and four additional melodies for the stanzas.

Fig. 1. “Lift High the Cross” (London: Novello, Ewer & Co., 1886).

II. Textual and Musical Development

A substantially new version of the text and completely new tune were printed in Hymns Ancient & Modern: Second Supplement (London: William Clowes & Sons, 1916). The new text was written by Michael R. Newbolt (1874–1956) while principal of the Missionary College in Dorchester, and the tune (CRUCIFER) was by Sydney H. Nicholson (1875–1947), music editor for the supplement. Newbolt’s version of the text retained the original refrain, except for one change from “repeats” to “adore”; he kept the first four words of the second couplet and much of the twelfth, otherwise the text was new.

In Hymns Ancient & Modern Revised (1950), the second line of the fifth couplet was replaced with “And angels veil their faces to revere,” and the twelfth couplet was completely replaced with “For thy blest Cross, which doth for all atone / Creation’s praises rise before thy throne.” These revisions were apparently made by Newbolt himself, or approved by him, as he was still alive at the time.

III. Textual Assessment

Kitchin’s original text is broadly a call to action in service of international missions—and by extension, a call to spiritual warfare—portrayed as an arduous, combative, or even life-threatening task, although with compelling and rewarding outcomes, such as an increase in the number of worshipers, the repulsion of spiritual darkness, and the eventual cry of victory. The statement in the third couplet, “With Christ we die; His death our life secures” is consistent with Scriptures such as 1 Corinthians 15:12–58 or Galatians 2:20. The fourth couplet echoes 1 Peter 3:14, “But even if you should suffer for righteousness’ sake, you are blessed” (NKJV). The New Testament ideal of people worshiping in “ev’ry different tongue” comes in part from the Great Commission’s mandate to “make disciples of all the nations” (Matthew 28:19), but is pictured also in Revelation 14:6. In the eighth and ninth couplets, Christ’s authority over evil is reflected in passages like James 4:7 (“Resist the devil and he will flee from you”), Ephesians 6:12–13, and elsewhere. In the tenth couplet, the phrase “faith, hope, and charity” is from 1 Corinthians 13:13.

Newbolt’s text also leans into the portrayal of spiritual warfare, with its “conquering ranks” and “new-born soldier[s],” and its multi-national worship. In the eighth couplet, the promise to “draw all men unto thee” is a quote from John 12:32 in the KJV. The expectation of a kingdom of peace in the eleventh couplet comes from Isaiah 9:6–7, Revelation 21:3–4, etc.

Regarding Newbolt’s third and fifth couplets, Carl Daw offered this explanation:

From Newbolt’s use of such phrases as “triumphant sign” and “sign which Satan’s legions fear,” it is likely that he was remembering the tradition that prior to the battle at the Milvian Bridge, the emperor Constantine saw a vision of the cross with the words “In hoc signo vinces” (In this sign thou shalt conquer).[1]

Paul J. Cain summarized Newbolt’s hymn as follows:

The cross is an ideal image to communicate the love of Christ, for Calvary is where the forgiveness of sins was won. Receiving by faith Christ’s forgiveness, Christians embrace their vocations and tell the Good News about Jesus. The name of Jesus is important, because there is no other name under heaven that saves (Acts 4:12).[2]

Reformed scholar Bert Polman said of it:

[The text] reveals many implications of Christ’s cross: Christ rallies his people behind him; Christ gathers his people from throughout the world; Christ gives healing to the despair of the world; Christ’s victory enjoins praise to him.[3]

Stanley L. Osborne praised the hymn, and he is often quoted in other resources:

Without a doubt, the best hymn for confirmation. Its images are biblical, its moods expectant, its promises courageous, and its demands costly. It has no room for weak resignation. It summons the mightiest and leaves them gazing upon a Love that gave its life to achieve life.[4]

Revisions to Newbolt’s text are common, generally to minimize masculine language or militaristic imagery.

IV. Musical Assessment

The term crucifer means cross-bearer, which could refer to missionaries, to the Christian body as a whole, or liturgically speaking, to the person who bears the cross in a formal procession.

In Carl Daw’s estimation, “Much of the credit for the increasing popularity of this hymn belongs to [Nicholson’s] rousing tune. Its gestures are broad but effective.”[5] Similarly, Raymond Glover offered, “Its very accessible, strong, and martial unison refrain has immediate appeal for a congregation,” whereas the setting for the stanzas “in contrast is more lyric and contemplative.”[6]

Footnotes:

1. Carl P. Daw Jr., “Lift high the cross,” Glory to God: A Companion (Louisville: Westminster John Knox, 2016), p. 785; the allusion to Constantine is also reported by Raymond Glover in The Hymnal 1982 Companion, vol. 3B (1994), p. 889, and elsewhere.

2. Paul J. Cain, “Lift high the cross,” Lutheran Service Book Companion to the Hymns, vol. 1 (2019), p. 1278.

3. Bert Polman, “Lift high the cross,” Psalter Hymnal Handbook (1998), p. 529.

4. Stanley L. Osborne, “Lift high the cross,” If Such Holy Song (1976), no. 321.

5. Carl P. Daw Jr., “Lift high the cross,” Glory to God: A Companion (2016), p. 786.

6. Raymond Glover, “Lift high the cross,” The Hymnal 1982 Companion, vol. 3B (1994), p. 891.

Related Resources:

Stanley L. Osborne, “Lift high the cross,” If Such Holy Song (Whitby, Ontario: Institute of Church Music, 1976), no. 321.

Richard Watson & Kenneth Trickett, “Lift high the cross,” Companion to Hymns & Psalms (Peterborough: Methodist Publishing, 1988), p. 127.

Bert Polman, “Lift high the cross,” The Worshiping Church: Worship Leaders’ Edition (Carol Stream, IL: Hope, 1990), no. 229.

Raymond Glover, “Lift high the cross,” The Hymnal 1982 Companion, vol. 3B (NY: Church Hymnal Corp., 1994), pp. 889–891.

Bert Polman, “Lift high the cross,” Psalter Hymnal Handbook (Grand Rapids: CRC, 1998), p. 529.

Edward Darling & Donald Davison, Companion to Church Hymnal (Dublin: Columba, 2005), pp. 646–647.

Paul Westermeyer, “Lift high the cross,” Companion to Evangelical Lutheran Worship (Minneapolis: Augsburg Fortress, 2010), pp. 511–512.

Paul J. Cain & Joseph Herl, “Lift high the cross,” Lutheran Service Book Companion to the Hymns, vol. 1 (St. Louis: Concordia, 2019), pp. 1278–1280.

“Lift high the cross”: Hymnary | Canterbury